DRAWING WITHOUT FEAR! Week 1: Basic shapes
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This document provides guidance on drawing techniques for students. It discusses drawing still lifes, contour drawing, gesture drawing, and studying master artists' works. Students are encouraged to practice different techniques like blind contour drawing and shading to improve hand-eye coordination. They are also assigned homework to set up their own still life at home using ordinary objects.
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This document provides instructions for how to sketch or draw effectively in 3 steps:
1. Choose the right tools such as notepad, paper, pencils in different hardness, eraser and ruler. The right tools are important for a good drawing.
2. Get ideas by observing your surroundings and thinking deeply about the details and functions of what you observe.
3. Start drawing by first outlining edges, using guidelines and perspective lines, constantly comparing your drawing to the object, and filling in shadows, leaving reflected light areas lighter. Following these steps can help one improve at drawing.
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Credit to Mrs. Brown's Art Class (Google for more information!)
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This document provides instructions for how to sketch or draw effectively in 3 steps:
1. Choose the right tools such as notepad, paper, pencils in different hardness, eraser and ruler. The right tools are important for a good drawing.
2. Get ideas by observing your surroundings and thinking deeply about the details and functions of what you observe.
3. Start drawing by first outlining edges, using guidelines and perspective lines, constantly comparing your drawing to the object, and filling in shadows, leaving reflected light areas lighter. Following these steps can help one improve at drawing.
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1) Architects use sketches to convey design ideas and concepts to clients and the public. Sketches must be clear, neat, and understandable.
2) When sketching a building, prepare drawing materials like different grades of pencils and paper. Learn how each material makes different line darkness and hardness. Get into a comfortable position before starting.
3) To sketch a building, draw a horizon line and the basic shape considering perspective. Add details like windows using different pencils. Shade realistically using blending to add depth. Sign and potentially apply fixative when finished.
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This document provides instructions for creating a figure drawing using a straight-line block-in technique. It describes a multi-step process:
1. Construct an "envelope" around the figure using long straight lines to establish proportions.
2. Add interior straight "web lines" that cut across the figure.
3. Establish midpoints by measuring halfway points on the model and marking them on the paper.
4. Draw the "terminator line" between light and shadow areas.
5. Gradually refine the contour lines without using curves, to accurately depict the figure within the initial straight-line framework.
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- Create a wide range of values from very dark to very light without smudging. Consider composition and balance between positive and negative space.
- Develop both the foreground and background to create a sense of depth. Focus on mark-making rather than outlining. Select 3 to 6 interesting objects to draw fully.
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Monoprinting is an ancient art form that involves creating unique prints using ink and various mark-making tools on a plate, usually made of plexiglass. Artists can create monoprints by rolling ink onto the plate and then drawing into the ink with tools to remove areas, or by placing paper on the inked plate and drawing on the back of the paper. Monoprinting allows for experimentation and unique results each time as the ink is manipulated in various ways. The document provides instructions for different monoprinting techniques like the subtractive method and using stencils or textured objects pressed into the ink.
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This document is a 741-word process essay on producing an attractive sketch submitted by a student named Tan Yit Fong for their English 1 class. The essay outlines several techniques for sketching a building, including holding a pencil at arm's length to scale lines, dividing the sketch into manageable cubes, and using crosshatching to add shading and texture. It emphasizes the importance of simplifying details, using Gestalt principles of perception to organize the sketch, and practicing techniques until they feel natural.
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1) Architects use sketches to convey design ideas and concepts to clients and the public. Sketches must be clear, neat, and understandable.
2) When sketching a building, prepare drawing materials like different grades of pencils and paper. Learn how each material makes different line darkness and hardness. Get into a comfortable position before starting.
3) To sketch a building, draw a horizon line and the basic shape considering perspective. Add details like windows using different pencils. Shade realistically using blending to add depth. Sign and potentially apply fixative when finished.
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To paint Sharanya's art, gather acrylic paints, flat and thin brushes, water, newspaper, and an old cloth. Sketch the selected painting, then select colors and start painting the sketch. Once finished coloring, the painting is complete.
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This document introduces different types of drawing techniques, including blind contour drawing where the artist only looks at the subject and not the paper, modified contour drawing where the artist looks mostly at the subject and briefly at the paper, and cross-contour lines that show the three-dimensional form of a subject across its shapes. It also discusses gesture drawings that capture movement through quick sketches, and using value, or light and dark shades, to convey form in two-dimensional drawings. Famous artists like da Vinci, Rembrandt, Picasso, and Escher employed various techniques.
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-My Art Magazine
Contour line drawing
The document provides instructions for blind contour line drawing and check-back contour line drawing exercises. For blind contour drawing, the goal is to draw the outline of a subject like one's hand without looking at the paper. Specific instructions are given to move slowly and follow all curves and details of the subject. Several hand positions are listed to practice blind contour drawing. For check-back contour drawing, the instructions are similar but allow looking back and forth between the subject and paper, spending 80% of time looking at the subject.
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1. Construct an "envelope" around the figure using long straight lines to establish proportions.
2. Add interior straight "web lines" that cut across the figure.
3. Establish midpoints by measuring halfway points on the model and marking them on the paper.
4. Draw the "terminator line" between light and shadow areas.
5. Gradually refine the contour lines without using curves, to accurately depict the figure within the initial straight-line framework.
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This document provides instruction on contour drawing techniques. It discusses blind contour drawing, where the artist looks only at the subject and not at the paper as they draw. Modified blind contour drawing allows glancing at the paper up to 20% of the time. Contour drawing focuses on carefully observing and outlining the subject. The document explains that contour lines define edges and changes in planes. It emphasizes training the eye to accurately trace what is seen and the hand to copy those movements. Exercises include blind contour drawings of various subjects, as well as upside down and modified blind contour drawings.
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This document discusses basic visual elements including dots, lines, and shapes. It focuses on dots, describing geometric and graphic dots. Pointillism is introduced as an art style that uses small colored dots to form images, practiced by artists like Seurat and Signac in the late 19th century. Readers are instructed to try recreating an image or creating their own painting in pointillist style using dots on paper.
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The NOT FLAT workshop at the Asheville Art Museum in May 2018 explored concepts beyond the flat, two-dimensional surface. Participants experimented with techniques that incorporated texture, dimensionality, and other sculptural elements into their artwork. The goal was to challenge traditional notions of painting and drawing and push creative boundaries in new directions.
Don't Box Me In Final Critique
Students in a class critique their final projects and provide feedback to each other on their work. Ali Campbell, Becca Campbell, Kate Chassner, Jacob Fisher, Louise Glickman, and Pat Johnson are listed as having participated in the critique by providing their projects for feedback and reviewing their classmates' work.
Contemporary Identity Artists
This document lists several contemporary identity artists including Yoko Ono, Ahmed Morsi, Chris Ofili, Kazuya Akimoto, Grayson Perry, Kara Walker, Lorna Simpson, and Shirin Neshat. Brief biographies and examples of works are provided for each artist over the next few slides to showcase how they explore concepts of identity through different artistic mediums.
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Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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9
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